General overview of conceptuals here.
- How hard it is to listen.
"Listening is the most creative act."
But here, we're not talking about music, we're contemplating the content without being able to anyhow intervene -> actually, we disable ourselves in order to hear more. People tell a lot, if they are given space. We can hear a lot, if we know how to listen.
+ Learning how to listen, group critique - the one on display has to remain silent. (They also have a representative, a person who speaks on behalf, if necessary.)
Ref: Liz Lerman, Critical response process: https://lizlerman.com/critical-response-process/
Ask yourself: What kinds of writing have we done so far? How do we read and write on a day to day basis? Tisa: language is one of the main materials for her work - likes definitions/etymologies, likes to keep conversations, makes lists, keeps soundrecordings, (essays, poetry, lyrics, performative outcome, reviews, critiques, ...) thinks about blogging as an output to motivate her
The task was: Todays task: what, how, why. Outcome 150 word text describing a piece of work you made. (X2 = 300 words) "The map is not the territory." what 50 wrds <object> how 50 wrds <method> why 50 wrds <motivation>
Here they are:
What - River is an object, an artist book. A diary, written by the river itself, interspersed in 9 chapters. Loosely constructed, black duct tape is preventing it from falling apart. Each turn of the page unravels a block of hand-written text on the right, juxtaposed by a drawing, resembling the natural flow of water, peculiarly dried up and static on the left. While thumbing through the pages, the hands of the beholder get stained by the materials used.
How - From imagination into words, the personified river told her story fluently, without thinking twice, writing automatically. I didn’t have to do much, her stories have been present for centuries. Then big drawings, made out of natural materials such as charcoal, coffee grounds, soil, dirt and water were cut into equally small pieces. The wilted material opposing the fluid, ethereal subject matter. Bound together, it was put on display in a former mortuary, a place of memory.
Why - The border river Mura served as my refuge for two weeks, while I was involved in a collective process temp.tc, somewhere in between Slovenia and Austria. Bathing in its waters, observing its ever-changing states and gradually becoming aware of its past, present and future - political denotations, the shifting roles the river plays, the human-made constructs imposed onto her. She was screaming to utter, without possessing language. I became the conductor of her content. Comments: the sentences are long - dividing them in order to flow better? writing in a specific way, almost a bit poetic. you don't use connective words (such as and & but) from 1 to 3 paragraphs it gets more simple aka. more comprehensible. could "cathegorise" more in the first paragraph, third sentence. it's rythmic. the 2nd paragraph "it's really pretty" hihi
2. A SCULPTURE MADE OUT OF FOCUS
What - A sculpture made out of focus is a proposition on how to read my performances, a thought experiment. A protocol that is being generated on the basis of my immaterial performative practice and the nevertheless tangible strength of focus, the attention flow that is generated in between the performer and the public, that I observe cautiously and experience strongly. In real-time improvisation, focus is the prime matter for sculpting. The reflection, the analysis of it is also the basis for its future developments, rearticulations in other media, the postproduction of experience that the performances generate.
How - Following a question on how to make my performances more inclusive and interactive, I responded with a fact that has always been obvious to me - the public is already included, a crucially essential part of any performative act. The public is the one that grants the performer with focus and time, creating the very possibility for the encounter between content and the subjects, subjectivities present.
Why - The world is contaminated. Visual pollution is the hypocritical, hidden and omnipresent germ. On daily basis we are confronted with the overflow of images that tend to be meaningless, or there to serve the consumerist system we are a part of. Trying to avoid the production of imagery that would worsen the visual pollution, I took the decision to divert my practice towards the performative, where consensuality is a precondition. The attention of the public is gifted to the performer, not stolen from them. Distraction is the basic tool of "the capitalist beast". I believe that the gifted, consensual attention holds a possibility to reach further into the subjective mind, suggesting and opening up perspectives, otherwise blocked by gleaming pollutants.
Comments: Proposition, thought experiment. Protocol - how it can be applied? What does it do? What can it do? What are its affordances? How to communicate it? More about protocols -> research. Have to know my code in order to understand. Frustrated, disconnected. Social class dynamic, difference in the possibility of understanding. -> anti-intellectualism? Too fancy. Not understandable enough for a non-artist or non-poet person. -> Who is the reader? People can feel excluded by the usage of the language. Vocabulary. I have a strong, sigature way of writing - how to make it not only mine? How to make people understand my code, make it more reachable? (language as a code) Ornamented, descriptive. Using two close-meaning adjectives together (crucially essential; the very possibility) Academic discourse? Precondition for understanding, cracking the code: curiosity and focus, sensibility, imagination. I need attentive readers! Complexity management (*B- Kosovel) Accessibility....
- todo ARRANGE LEFTOVERS OF SESSION #1:
Some reading around interface: - list in the ref pad.
Rather than look for a definition of interface, let's discuss the various ways in which interface is understood. So the task is not an essentialist outcome but a speculative investigation into the affordences of interface.
Reading into interface
Reading groups to investigate what others say about them. Steve has noted some texts that could start the discussion, please add (newer) texts.
- interfacing, to interface
3) discuss content for next session (reading, writing, annotation session)
-> find a contemporary companions for every "old text". -> research speculative interface and find people working w/this. here: http://networkcultures.org/ https://www.wired.com/magazine/ https://www.e-flux.com/journal/
Each takes 2 texts one from steve's pile one chosen by yourself. -----> https://pad.xpub.nl/p/InterfaceTextsMethods
wishes: talk about academic discourse talk about the publics - who we are writing for and how this changes the way we write. tips on general reading practice? when, how much, what, how to know it's relevant ...
Session #2 (9-10-2019)
The interfaces are becoming invisible, unnoticeable. Friction-less interface.
Why is it important to understand the black box, to understand the interface? Its functions, its mechanisms. So, why is it necessary for us to learn these tools? - Understanding the contemporary time and its medias, that are mostly used to control, direct and bracket us. Humanity, designed by interfaces. The urgency of understanding?!
General critical position? to ignorance. to distraction. to the means of control, that are as friction-less and unnoticeable as (user) interfaces, too sleak and elegant for us to notice (whatever we agree to all the time, not reading the terms and conditions)
How to *ing politicize these debates? And to not be distracted.
write down individual ideas, possibilities, expand from the talk #todo (is it a mini essay on machine-empathy? an exercise of thought on modular thinking, connections, community etc.?
"modular thinking" Thinking modular (interviews at DMF) - module is not an instrument by itself - only when several interact they become an instrument - art giving propositions to everyday life - interface beeing a tool of community - things only make sence in relation to each other - individualities patched together - common conceptional ground is important cross-correlation empathy through technology
Roland Barthes - From Work to Text essay (Can you ask text a question? The context of the text is changeable. Text is always in relation to another text (intertextuality))
Write down the notes of the conversation with Blaž Kosovel and an idea for the selective complexity reader. #todo Intertextuality.
My methodology for this sessions' assignment was my standard method of the crystallization of thought. explain #todo
REF of today:
- Judith Butler - performativity
- Friedrich Kittler
- Douglas Rushkoff - Program or Be Programmed
- Trevor Paglen and Jacob Applebaum - Autonomy Cube
- Roland Barthes - From work to text
Interviews of lens-based: https://pad.riseup.net/p/Session2Lensbased2-10
Session #3 (13-11-2019)
with Steve. And Simon, presenting the bootleg library. pad of the session
- research my own methodologies of perception (sensibilization), of annotating (underlining, notes on the side, my mind/my thoughts on the txt -> to use it as a jump start, intertextuality, originality, academic quotations/discourse), of writing (quotation, connections, form, intensity, complexity reader).
- construct and define your own methodologies, use them, exercises in style.
- send steve the overview text.
- write and read and research as an artist.
- transcribe the talk, the mind flow while explaining.
- Next time: make a synopsis (or two) of a text you are reading: what is the argument- what is the conclusion (100 words Max)
Make a practice of recording what you are reading, and the conversations that you have.
dispense - shajati brez nečesa, znebiti se česa. peremptory - prisilen, ukazovalen, dokončen, nepreklicen prompt - spodbujati, izzivati, pozivati obtuseness - topost abate - popuščati, ponehavati, zmanjševati, zniževati text (etymology) - o weave, to join, fit together, braid, interweave, construct, fabricate, build, (to rhapsodize) circumlocution - the use of many words where fewer would do, especially in a deliberate attempt to be vague or evasive. ex nihilo - out of nothing prowess - zmožnost, spretnost, mojstrstvo evanescent - izginjajoč
- changing pronouns, writing in the third person. - Writing for a "naive subject", aka. the sister. - Scheduling writing into the everyday.
- #icanhazpdf https://twitter.com/hashtag/icanhazpdf?src=hash
- aaaaarg http://aaaaarg.fail
- Bibliotheca http://bibliotecha.info/
- Clockwise libraries https://clockwise3rldkgu.onion
- Library Genesis http://gen.lib.rus.ec
- Memory of the world http://library.memoryoftheworld.org
- Monoskop http://monoskop.org
- On Our Backs http://voices.revealdigital.com/cgi-bin/independentvoices?a=cl&cl=CL1&sp=BEBJBJCA&ai=1&e=-------en-20--1--txt-txIN---------------1
- Project Gutenberg http://gutenberg.org
- Radical Militant Library (Jotunbane’s Reading Club) https://c3jemx2ube5v5zpg.onion
- Sci-hub http://sci-hub.tw/
- Textz.com http://www.textz.com
- volafile.io * #bookz on IRCHighway/undernet
- The Piratebay @ Worm http://thepiratebay.worm.org
- UBU-web http://ubu.com
writing in safety
Park memory on a server, to not forget. Making a log of the practice-based research.' That's what I'm trying to do now. I'm still kind of "afraid" of loosing this data. Now, in some years. When will I need it again? It's like loosing a notebook, heart shivers. What's up with backup?
Aymeric explains in detail:
>I have another question as I'm writing down a lot of stuff these days - how >safe are the pads and the pzwiki? >Afraid of loosing data... >Is there a backup if something crashes? >What would be your suggestion on how to keep it safe?
First of all, nothing is safe :)
With that said, the git repos, pads and wiki have daily backups and they are closely monitored by gnd our sysadmin. So far we've never lost anything. In the past we had one terrible hardware crash, but in the end we only lost half a day of wiki edits (can be a PITA, but that's very little considering what we've been accumulating for the past decade). That's also why we're also now moving to a virtual machine in a local data centre in Rotterdam, instead of maintaining our own hardware (currently only the wikis are left to migrate, still running on a server located at KDH, where PZI Fine Art is).
What's important to know though is that not all resources have been made equal:
- git repos: this is super resilient, because if you clone a repos, you basically have a 1:1 copy. So for instance a personal git repos will exist at least in 3 different locations (your machine, the server, the backup), and a special issue repos (or shared project) will have even more copies. It's version controlled so as long as you commit a change to your repos you will always be able to recover accidently deleted changes. And if you push to remotes repos, you have redundancy.
- wiki: we're running Mediawiki, it's super solid. After all that's the backend of Wikipedia. In the past years I've used/run several Mediawiki instances, and have never lost a thing (with the exception of the PZI server crash but that really was a disk that died). Does not mean it's 100% safe and that database errors or bugs do not exist and could not lead to data loss, but, well, it's as safe as it can be. That's also why we have backup in case something goes wrong. Also all pages are version controlled so if you delete text by accident, you can revert your changes from the "View History" tab on the link.
- pads: this is more tricky. First of all etherpad does not have as many dev resource as Mediawiki or git, so it's not as thoroughly tested and it's much much more unstable. Some users treat pads as temporary/collaborative texts, bit like transitional documents that can either be eventually discarded, or further processed into a more stable format (like a static website, a PDF, another markup language to move the data elsewhere, etc). Some other users/hosts use etherpad as some experimental publishing platform, making websites in the form of maze of pads. That's pretty cool but I would not trust it on the long run. We already had one episode where we had to start the db from scratch again as it was not possible to migrate the old db to a new format. Every now and then there are also strange bugs (for a while etherpad was plagued with encoding issues, and it was possible to crash a pad by inserting an emoji for instance).
My advice would be to use git for all your protos/sketches and documents that are frequently updated, use the pad for collaborative (or personal) light note taking, or to dump stuff, and use the wiki for more thorough and stable documentation (including extracting the relevant stuff from pads) where you would also benefit from more advanced layout and the possibility to upload extra stuff like PDF, images and create more complex hyperlink navigation. Also making use of your User wiki pages will become handy for assessment as we will look at these as part of the documentation of your work and research (also using the wiki to present said work and research is super handy).
On a side note, a good prototyping exercise would be to try making a simple tool to convert a pad into a wiki page in case it's needed for future ref and will not be updated further.
Finally, if you're worried about data loss, the best acid test is to think about a realistic worst case scenario and check whether or not you're equipped for such scenario :)
You should also check Thomas Walskaar grad project :) https://www.walskaar.com/myhddiedalongwithmyheart.html http://pzwiki.wdka.nl/mediadesign/User:ThomasW/MyHard-DriveDied_final There's a copy of the book somewhere in the studio, but not sure where is the video...